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Graphic Novels as self-Conscious Contemplative Metatexts： Redefining Comics and Participating in Theoretical Discourse

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Journal of Literature and Art Studies 2018年第2期8卷 181-189页

作者： Moula Evangelia Christodoulidou Louiza Secondary Education Rhodes Greece University of the Aegean Rhodes Greece

The long-term biased critical reception of comics did not allow the medium＇s theoretical remodeling, the highlighting of its multidimensionality and complexity, and its establishment as a self-sufficient and serious narrative medium. The creators of graphic novels in an attempt to upgrade and restore their ＂ancestors＇＂ cultural status and to eliminate the negative stigma of the medium, by taking advantage of the self-referencing techniques, they try to redefine comics and reframe the field of their social practice. Graphic novels, even more, either allusively or straightforwardly, aquire metatextual quality, by exercising critique on the artistic phenomenon in general and on comics＇ history and theory in particular. self-referentiality and metatextuality function as ＇internal legitimization apparatuses of the medium and provide graphic novels the right to participate in the theoretical discourse, negotiate or even rearticulate it.

关键词： graphic novels comics self-referentiality metatextuality

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Visual Imagination and the Mediation of Semiosis： Intertext and the Real in Thomas Hardy＇s Jude the Obscure

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Journal of Literature and Art Studies 2012年第9期2卷 835-852页

作者： Marta Rabikowska University of East London London UK

The writing of Thomas Hardy cannot be readily defined as an embodiment of the Realistic tradition. His too-liminal status as the last Victorian novelist, regional writer, and a collector of English rustics, has been vivaciously debated and contested （Miller, 1970; Widdowson, 1989; Moore, 1990; Morgan, 1992; Armstrong, 2000; Mallet, 2002; Nemesvari, 2011）. This argument contributes to the debate on the relation between the real and the textual in Hardy＇s last novel, Jude the Obscure （1895）, which shows that Hardy＇s language has features of a self-referential novel, close to the antimimetic poetics of postmodernist genres, which insists, however, on the connection with the real, where lies the inspiration for creativity and political intervention. Through the analysis of the allegorical figures of ＂intertexts＂ interwoven in the language of the novel, it will be argued that the representation of the novel registers the connection between Hardy＇s visual imagination and his intention to intervene in a discursive field.

关键词： Thomas Hardy self-referentiality intertextuality mimesis visual imagination

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